A pictorial method; My recent work pay interest to images from Japanese stamping and porcelain, the art of kintsugi, analog photography, old postcards from Istanbul, images from social networks, the art of tapestry from the 15th to 18th centuries, my own little drawings projected, ceramics from Spain and Tehran, heraldic coats of arms  and photographs of the pieces on process. Images are embedded in our life to such an extent that we have become images ourselves, and they are unreal. They are part of our digital reality. They are modified when we print them, projected or combined. To me,  is painting the reflect of this eclectic capacity of image. It does not matter what appears in them, even it does no matter if they are current or not. What is really important about images is their dynamic content, their ability of working as an actionable image able to be blend with other images. Compositions or just the fusion of colors. Perhaps only what appears in a corner of an image may be the necessary content to start a painting. On the other hand, everything that happens on the canvas is intertwined through pictorial exercise and that sediment is partially visible. The information comes from a huge personal library of images. I find it interesting because painting does not need to pursue a purpose, or talk about a lyrical story either, just follows the rules of composition, the subsequent images that emerge are adapted. Just as change affects places. The origin of a painting may be traced back to another idea that over time has adapted to a later one, the painting must have the same adaptability as cities.